I have a crop (1256px x 1776px) from a 6Mpx NEF file that I want to upscale and get rid of some motion blur. So, I did my usual demosaicing in PhotoLab 8, exporting to 16bit TIFF and here is a screenshot of the exported TIFF, upsized to 3780px x 5345px)…
Note the “Moiré” pattern on the water especially, as well as the remaining motion blur, which is even more accentuated.
Now, I understand that this particular shot is not what it was intended to be, due to optimistic use of 1/60sec at 200mm but my thinking is to see just how far Topaz can go.
Hello, Ray is right. We mention in our SUper Focus docs that for motion blur, it’s best to use Sharpen’s AI Models! Super Focus | Topaz Photo AI
There is no moiree here, that is generative AI attempting to add details on the rock!
In your workflow, with a TIFF, you are revoking your access to RAW Denoise. Would be best to import the NEF in Photo AI, then export as DNG, then do Photolab work!
The problem is that I took it at far too slow a shutter speed for the focal length.
Well, some might call that clever but not for an image like this
I am a long time user and beta tester of PhotoLab. I’m sorry to disappoint you but, from my testing, I prefer DxO’s DeepPRIME. My workflow is to do everything imaginable in PhotoLab, which I find far more flexible and powerful, especially for local adjustments and corrections; and then pass the finished TIFF to Topaz Photo AI for print sizing and sharpening. PhotoLab does so much more than just denoising at the demosaicing stage.
But be reassured, I am a massive fan of what Photo AI does to my final prints - especially the odd small size or over-cropped images that need printing big.
I just had a 36 Mpx Nikon D810 image, processed to TIFF in PhotoLab, enlarged to 32" x 23" in Photo AI, and sent to Picto in Paris for silver gelatine printing on their Lambda printer - simply astounding! You can look at it from really close up and just see more and more detail. We also do LF 5" x 4" film photography and have several of the same sized prints on the wall alongside the latest digital one - we just can’t tell the difference in print quality.
